Art critic, historian and journalist Anita Brenner () is Idols Behind Altars is her influential historical and critical study of modern. Title, Idols Behind Altars. Author, Anita Brenner. Edition, illustrated, reprint. Publisher, Biblo & Tannen Publishers, ISBN, X, User Review – Flag as inappropriate. Hardcover. No DJ. Possible first edition. Part of DJ glued to inside cover. Edges of spine are a little tattered.

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Who before had ten or twenty thousand, or two and three hundred thousand subjects, now goes to the snita for wood, and the queen his wife, to the river for water; and the princes and dauphins, as much princes and dauphins as those of Castile.

Every man must work. They had mechanical and spiritual rules of craft.

There are skulls in monolith of lava, miniature of gold and crystal, mask of obsidian and jade; skulls carved on walls, moulded upon pots, traced on scrolls, woven into garments; formalized into hieroglyphs, given a skeleton and an oc- cupation in figurines; filled out around whistles, savings- banks, rattles, bells, holiday masks and jewels; woodcut and etched on ballads; strung into drinking-shop decorations; made into candies and toys.

They are not hiding their truths behind any imposed ritual; they are finding their own. A ceremonious gaiety is the proper idools.

And the Spaniards took more gold, silver, feathers, Indians and other merchandise and plun- der. The Aztec seeks the face of his god, atlars makes multiple masks for him; the Maya makes multiple masks for him, and puts a priestly, haughty mathematician behind them all.

Permission was asked of the guests to hold this ceremony, and granted by Cortez. At dawn I fell upon a large town, of more than twenty thousand dwellings. And with familiar obstinacy and patience Cuauhtemoc begged for death.

Idols Behind Altars – Anita Brenner – Google Books

For example, if he wishes to fashion a turtle, it must have a shell, in which it may move, under which the head looks out, and from which the four feet extend and move about.


Spain reflowered in Mexico as Italy had in Spain and France, creating each time a different Christian art. Atonatiuh said to the snake: It is a song of love and can, one hears, make death easier, and quiet any pain. They were bound and flogged for this refusal. However their valuable collaboration would have been less satisfactorily illustrated except for the sympathy and support of the former rector of the National University of Mexico, Dr.

Thou- sands of Jews expelled from Spain sought the nearest replica of their terra bunita in its colonies. They came with the confident insolence of a tribe following divine com- mand, seeking “an eagle on a cactus with a serpent in its beak”, and found that sign on an island in the middle of a lake, adjoining Teotihuacan. On the following morning they heard solemn mass and there was a procession; all anitaa com- munion, and thanked God for the victory. The village of Chapingo, almost contemporaneous to the Place of Pain, was assembled on the model of an American factory-settlement, and was equipped with electric lights and modern sanitation.

He is also the ancient Ometochtli who helped to discover the fertile maguey with its bowl of intoxi- cant milk.

Idols Behind Altars: Modern Mexican Art and Its Cultural Roots by Anita Brenner

They make us who are miserable to see the light among the flowers and songs of the fertile fields, they cause us to see those things. Idols Behind Altars is her vrenner historical and critical study of modern Mexican art and its roots.

The devil-may-care guerrilla mocks at him brutally. Life shifting from one form to another, and all still the same; movement defined by stops; light end- lessly becoming darkness, plants and people of necessity dying, at a definite fixed point, to be reborn.

The missionaries of religion were nec- essarily also missionaries of art. They played the decisive role in the Spanish conquest. Automobiles and buses beihnd end on end all day, and in the cemetery itself there are lemonade stands, and tintype photographers making a splendid day on arm-in-arm lovers and family groups backed by a pretentious marble slab anota a churrigueresque flower-arbor.

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Vividly- colored in the craft centers of Tlaquepaque, in central Mexico, and shining or dull black the pigment sacred in straight descent from antiquity on the southeast coast, these same plastic ideas are made into whistles and bells and savings- banks, along with newer forms such as madonnas and Spanish sheep. On walls and floors, channels were cut for constant trills of running water, in which Mexicans always delight. He calls out quietly from the grave to please tread lightly, as the earth is loose and drops unpleas- antly upon him; or he inquires whether or no he may have a fresh jar of water, as he has used the other all up?

It was not necessary to dye the cotton, for it grew of many colors, and all udols fruits and grains were of similar beauty and abundance. Pottery, masks, figurines, sold at this fair are not the useful, anota ob- jects of other holidays. It behond a sympathetic cast of the far south, and is nevertheless Mexican unmistakably, withal elusive of defini- tion.

If he is brenner inter- ested in the making, he will do it badly or not at all.

Idols Behind Altars: Modern Mexican Art and Its Cultural Roots

They have always been famous for delicate trinketries— mosaics, lacquers, featherwork, filigree, and, since the conquest, blown glass. Romantic women went about adventuring in men’s garments.

Leaving the city in the hands of Pedro de Alvarado, much less a diplomat than his chief, Cortez departed hurriedly, taking gold with bhind to buy the soldiers and lieutenants in the aniat arrived ship, whatever the price; to keep them away, or add them to his own troop.

Books by Anita Brenner.